The story starts with Gene Clay, founder of the Ark. Valley Wranglers, which was the most popular country band in Lamar, CO. Between 1949 and 1955, they were playing over KLMR (Lamar, CO) and performing at many local watering holes,(Spot 50 Tavern in La Junta and the Eagles Club in Lamar to name just two), high school dances, American Legion halls etc. But in 1955 two members of the band joined the US Army and one moved to Pueblo to attend college, so the band took a break.

Meanwhile, another local band, The Rhythm Ranch Boys were performing locally and gravitating towards the Rock & Roll end of the music market. Wanting to make a record but not knowing where to start, Frank and Dave approached Gene for advice. As he had some influence at KLMR, he arranged a recording session there, but on the condition he was allowed to use his own band’s name on the record. So the Rhythm Ranch Boys became part of the Ark. Valley Wranglers.

Recorded in the fall of 1956, they recorded two of Frank and Dave’s compositions and despatched the tracks to Starday Records for pressing on their Cimmaron label (after nabbing the publishing on both sides). Boxes of records came back with postcards to be sent to radio stations that they sent to DJ’s with the hope of some airplay.

The A side is a pleasant enough country/hillbilly weeper with lovely harmony vocals on the chorus. The B side is a nice relaxed rocker in the style of “Heartbreak Hotel“, but with a more “countryish” musical leanings and again features some nice harmonies. The band, compared to other Starday Customs, sounds very tight and professional.

After spending another year with the Wranglers, Frank moved to Denver and started another band, called the “String-A-Longs”. Later, moving to North Carolina, he worked in the insurance industry before retiring. Dave worked for the Denver police before setting in retirement in Missouri.

Huge thanks to Lisa Wheeler who kindly allowed me to plunder her excellent blogspot for the info above. For the full story of Gene Clay and the Ark. Valley Wranglers (plus two short sound clips of the record above), visit the link below.

Recorded at WHBO with Arnold Newman (Ld Gtr), Roland Newman (fiddle), Colin Thomas (Steel Gtr), Walter Studenberg (bass) and Frank on Vocals and rhythm guitar. Although neither side stands out, they are pleasant enough to listen to more than once, but sound musically inferior to their other offerings. As the Billboard advert below shows, they were performing over WHBO 5 days a week and performing live frequently.

TREND RECORDS 603 KEN PATRICK with Chet Tant on Steel Guitar

Grand Canyon, AZ December 1956

45-603-A – Snow Flake

(No info) (Starrite BMI)

45-603-B – Do You Love Me

(No info) (Starrite BMI)

No info. Never actually seen or heard this record. Oct. 16th, 2012. Thanks HillbilyBoogie1, who posted the record on YouTube. I’ve heard it: a very fine fast number; the steel guitar is astonishing! The artist has another entry on Maken 9962, “Night Train“, a strong ditty from the late ’50s (see podcasts below)

MOVIECRAFT RECORDS 604 ROD BURTON

930 West 7th Place, Los Angeles, CA December 1956

45-604-A – Wedding Bells Are Ringing For The Bride

(No info) (No info)

45-604-B – My New Sensation

(No info) (No info)

Another musical bank. Missed a copy on a set sale list about 10 years ago and seen sight or sound of it since. The label had moved by 1957 and was located at 6766 Hawthorn Ave, Los Angeles and any correspondence was care of Gerard Enterprises.

Confusingly, I have also seen listed another disc (Drake Morgan – My Heart Believes / Are You The One – Movie Craft 605) which may or may not be a Starday Custom, or perhaps 604 isn’t one after all. Only actually seeing a copy is going to sort this one out.

COWTOWN RECORDS 605 GENE HARRELL

PO Box 1694, Fort Worth, TX January 1957

45-605-A – I Won’t Be Back No More

(Mary L Miller) (Starrite BMI)

45-605-B – Mumbles

(Daphine Orme) (Starrite BMI)

Label owned by John W Stephenson. More of a vanity / Custom Press label than a song poem concern, he did manage to release quite a few great records in amongst the dross. The label was still going through the 70’s. As for Gene, he was performing at the time at Chaylor’s Night Club in Texarkana, TX at the time of this release. For some reason, there seems to be two pressings of this disc.

STARDAY RECORDS 606HOYT SCOGGINS and the Georgia Boys

(Artist based in Rome, GA at time of recording)

January 1957

45-606-A – What’s The Price (To Set Me Free)

(J Rackey / H Scoggins) (Starrite BMI)

45-606-B – The Old Chain Gang

(H Stillwell / H Scoggins) (Starrite BMI)

More jolly hillbilly from Scoggins. Both are nicely sung, nicely played. The A side sets a terrific pace, whilst the flip is more akin to a medium tempo’d blues ditty, albeit sung in a hollerin’ country manner. Hoyt was performing over WROM (TV Channel 9) and was the band leader of the Saturday Night Jamboree (Rome, GA??). In any case, it’s not “Tennessee Rock“, but it’s a mighty fine accompaniment.

A pleasantly sung country/hillbilly song. The A side has a bit of, perhaps, “rhumba” influence. Taken at a brisk tempo, it has nice accoustic guitar accompaniment with sawing fiddles and steel guitar sharing the solo. I can hear Hank Snow singing this. Odd to mention Snow as he’s the writer of the B side. This is a ballad sung with feeling. There’s a small bio on Don on his previous Starday Custom Release (#559, see earlier entry of « Starday custom serie », # 551-575).

STARDAY RECORDS 608 LUCKY WRAY with Link and Doug Wray

January 1957

45-608-A – Teenage Cutie

(H Albert / C Davis / L Wray) (Starrite BMI)

45-608-B – You’re My Song

(B Baker / J Williams / L Wray / C Davis) (Starrite BMI)

Killer Rock-A-Billy and classy ballad from Lucky and Link. A side is fast, mean and moody with Lucky’s understated vocals threatened by Link who threatens to steal the proceedings with a flick of his pick up switch. The ballad side is a dreamy affair with Link almost sounding like a steel guitar in parts. Sadly this was their last appearance on a Starday-Custom pressed disc . Both Link and Lucky went on to bigger and better things.

STARDAY RECORDS 609 BUDDY SHAW

January 1957

45-609-A – Just Like A Fool

(Ruth Snider / B Shaw) (Starrite BMI)

45-609-B – I Belong To You

(Ruth Snider / B Shaw) (Starrite BMI)

Two ballads from Buddy. Both are pleasant without being exceptional. Nice snippet of overloaded each just as he starts singing on the A side. I especially like Buddy’s “hick” Vocals. Band lend fair support with steel guitar being the prominent lead instrument. The artist was possibly from Kentucky. Both sides are co written with Ruth Snider – a name seen before on writers credits but can’t place where.

TARHEEL RECORDS 610 LEVON McCALL

January 1957

45-610-A – I Lose Again

(No info) (No Info)

45-610-B – If I Don’t Change My Mind

(No Info) (No Info)

Nothing on the above artist or label.

UNKNOWN RECORD LABEL 611 UNKNOWN ARTIST

January 1957

“All I Do Is Cry Over You”

“One Dark Sunday Night”

This is a blank acetate, supplied by Dave Sax. It has no artist, label or song credits. In fact, it’s totally blank. The only info is in the dead wax which has the issue number and A/B designations. As there are no titles, the ones listed here are what a few of us “think” they are – we could very well be barking up the wrong tree with these.

Another slightly blurred label shot from another unknown artist. I found an Art Rodgers on Seven Stars Label from Cincinnati, OH from 1957, and it’s possibly the same artist, but not 100% certain. The A side is a nice mid-tempo honky-tonk song. He sounds to be about 30-40 years old. Flip side is mid tempo but more in the hillbilly vein. Nice fiddles and steel guitar. B side has some nice harmonies as well.

VAN RECORDS 614 CAMPBELL TRIO with Jerry Tuttle, Hawaian Acc.

614 North Kimball, Malden, MO February 1957

45-614-A – Satan Lost A Sinner

(Jack and Billy Campbell) (Starrite BMI)

45-614-B – God Can Do Without Your Service

(Jack and Billy Campbell) (Starrite BMI)

Nice, delicate white gospel (with a hillbilly flavour) from the Campbell Trio. It’s the harmonies that win me over here. A side is taken at a faster clip than the B side, but it’s the B side I prefer. Jerry Tuttle, the steel guitarist appears on a Rite Pressing from 62 (King Tutt – “Twisting At The Little Big Horn” / “Shorter Hours In School” – Starline 1001 (Flint, MI), and he had at least one release on Dot Records (“Tweedle-O-Twill” / “Bop Goes The Weasel” – Dot 16093).

NO NAME LABEL 615 HOYT SULLIVAN

Phoenix Street, Greenwood, SC February 1957

45-615-A – Hoyt Sullivan’s Drug Products 1 and 2

(No info) (No info)

45-615-B – Hoyt Sullivan’s Drug Products 3 and 4

(No info) (No info)

Cut in records with R and B hits of the day. Hoyt ran a reasonably successful beauty products company. He later owned HSE Records (amongst others) where he recorded Gospel Music. I’m figured Hoyt was (is) black, but according to Alistair Blazaar, he was white.

HUFF RECORDS 616COWBOY HUFF

18 Southwest 27th, Oklahoma City, OK February 1957

45-616-A – No Two Timing Me

(Huff / Raines) (Starrite BMI)

45-616-B – What’s Gonna Happen To Me

Very little is known on this artist. Informed that Cowboy Huff is Charlie Huff, a singer, songwriter and record label owner from Oklahoma;as Charlie Huff, he cut at least one good rocker on Arlo Records (which he may have owned) {She’s My baby / Hiding My Tears – Arlo 100} which also appeared on Huff Records (#100) (both labels carry the same Oklahoma City, OK address). There’s also a Cowboy Charlie Huff LP on Northstar 1001, which may be the same guy. Also Billboard magazine mentions (25th Mar 1967) that ….”Charles “Cowboy” Huff is trying to sell all of part of his publishing firm, Record Masters“.

Also found two 4-Star Releases {4-Star 1190 “Conversations With A Mule / Sad Sack“} and {4-Star 1191 “Maybe Next Week Sometime / High Hat Blues“}, plus a couple of 45’s on North Star (727 & 729), plus a couple of later Huff Records (722 & 723).

As for this record, the A side is a fast(ish) hillbilly number with fiddles taking the solo and what sounds like an accoustic guitar taking the place of a stand-up bass. B side is more of the same really. Huff’s vocals has got that Texas/West Coast drawl to his voice.

HUFF RECORDS 617 COWBOY HUFF

18 Southwest 27th, Oklahoma City, OK February 1957

45-617-A – Lover’s Waltz

(Huff / Raines) (Starrite BMI)

45-617-B – Patonia (Pride Of The Plains)

(Arr: Huff) (Starrite BMI)

More of the same here from Huff. A side is indeed a waltz with fiddles taking the lead. Flip is faster and more like the previous two sides.

STARDAY RECORDS 618BUDDY SHAW

March 1957

45-618-A – No More

(Ruth Snider / B Shaw) (Starrite BMI)

45-618-B – The Breath Of Life To Me

(Ruth Snider / B Shaw) (Starrite BMI)

Buddy’s back with another offering by him and Ruth Snider. “No More” is ALMOST rockabilly. In fact, if you cut out the steel and added a guitar, it’d be darn close to being really good. But as it is, it’s darn fine hillbilly. Flip is a ballad which, apart from the fine vocals by Buddy, is a little pedestrian for my tastes.

CRESTWOOD RECORDS 619 MARVIN JACKSON with the Battreal Boys

Cadet, MO

March 1957

45-619-A – Honey, If You Love Me

(M Jackson) (Starrite BMI)

45-619-B – World Of Make Believe

(M Jackson) (Starrite BMI)

Here’s Marvin Jackson’s first record. Now, Marvin may not be household name around these parts, but thanks to White Label / Collector Records, there’s a whole CD of his stuff floating around out there. He cut some rough and ready rockabilly tracks (“Gee Whiz, Miss Liz” on Crestwood 200), a few instrumentals (Marvin plays lead guitar) and some nice country stuff (“Dippin’ Snuff” on Mar-Lee). Marvin got this and his follow up disc pressed by Starday – 300 hundred copies and perhaps some promotional material (which was either post cards to send to DJ’s or – in Red Moore‘s case (# 840 « Crawdad Song ») – a stamper which you could stamp “Play This – It’s Hot” on the paper sleeves.) His third disc was pressed by King who only pressed 200 copies. The artist was based out of Cadet, MO at the time of these recordings., and Crestwood was his own label.

A side is pretty much country, but Marvin’s got that voice that easily skips the fence of Country into the green fields that is rockabilly, so it’s an early example of what he’s gonna sound like later on. B side is a ballad. Quite nice steel guitar featured on both sides. I’ll have some more info on him by the time we reach his next release (#644, in the next « Starday customs serie)

No info on the artists. Musically, the A side is a weepy country ballad with that sad steel guitar sound throughout. There’s a fiddle player in the background who takes a brief solo. The B side is a faster, fiddle & steel guitar led hillbilly song. Bill sounds like a real southerner when he sings, despite the label location of IL.

STARDAY RECORDS 622LUCKY HILL

March 1957

45-622-A – Fickle Baby

(Lucky Hill) (Starrite BMI)

45-622-B – It’s Comin’ Home To You

(Lucky Hill) (Starrite BMI)

Billboard review on 29th April 1957.

A side is a hillbilly song, kinda like an early Lattie Moore King 45. Fiddles are the main instrument here. B side is slower and more bluesy (in a typical hillbilly sort of way). More of a Hank Williams type song, and the tune bears a passing resemblance to “You’re Gonna Change Or I’m Gonna Leave“.

As for Lucky himself, he appeared on the Jimmie Rodgers Memorial celebration in Meridian, MS, held over May 21st-22nd in 1957. He wrote in Billboard advertising this disc can be acquired from him from an address in Tiffin, OH. By July 57, having come back from an Armed forces tour of North Africa, Lucky could be found as a staff announcer over KDRO-TV, Sedalia, MO. In December 1957, Billboard also announced that his piano player (Denny Bolin) had broken his neck in a car accident near Joplin, MO.

There was a Lucky Hill who recorded for TNT. Andrew Brown confirmed that the Lucky Hill on TNT is the same artist as the Starday Artist.

JAY RECORDS 623 BOB COLE

New Orleans, LA April 1957

45-623-A – Face To Face

(B.Cole) (Starrite BMI)

45-623-B – You Lied

(B.Cole) (Starrite BMI)

Bob had his own radio show broadcast over WARB, Covington, LA and appeared as the MC and a singer on the “Old Country Barn Dance », which was held at the Ann Theatre, Baton Rouge, LA. (He was still appearing at the Ann Theatre in 1958, but after that I have no idea.)

A side is a slowish country ditty; a little like an early Hank Williams. (To be honest, most songs of this type always remind me of Williams). Nice dreamy steel guitar and tic-tac guitar. Guitar solo is a simple run around on the melody. The B side is faster and has a nice catchy melody. Again the guitarist skips along with the melody in the solo. If anybody has this 45, label shots would be most welcome.

DIXIE RECORDS 624 TOM CROOK and the Rock And Roll Four

Rome, GA April 1957

45-624-A – My Heart Don’t Lie

(Crook) (Starrite BMI)

45-624-B – Weekend Boogie

(Crook) (Starrite BMI)

A side is a slow number, sung with a hillbilly flavour. Tom has that great “hillbilly twang” to his voice. There’s some nice guitar gently supporting Tom whilst he’s crooning his love song.

Flip the disc over and you get a great relaxed Rock-A-Billy/Hillbilly/Country hybrid ditty with an accoustic guitar taking the lead with fine support from a steel guitarist. Oh, the joys of the weekend (unless, of course, you’re unemployed – in which case, to quote Morrisey, “every day is like Sunday”).

According to Terry Gordon (Rockin’ Country Style), the artist was from Rome, GA.

COOSA RECORDS 625 ERNEST PAINTER

Shannon, GA April 1957

45-625-A – No One But You

(Painter) (Starrite)

45-625-B – Whispering Heart

(Painter) (Starrite)

Sadly, no info on the artist. Nor have I heard either side. Oct. 16th, 2012. Thanks HillbillyBoogie1 (YouTube), I’ve heard “No One But You“, a rather slowish honky tonker. Nice but average one.

As for the previous Starday custom series, a generous use has been made of Malcolm Chapman’s excellent blogsite “Starday customs” (just do search through google). My thanks to him, reprinted with permission. All label scans were taken from his site, except # 601 (Frank Bowen), which was provided by John Burton, thanks a lot, john.